Subhat Swadhyaya

Here's a comprehensive summary of the Jain text "Subhat Swadhyaya" by Bhuvanchandravijay, based on the provided information:

Book Title: Subhat Swadhyaya (सुभट स्वाध्याय) Author: Bhuvanchandravijay (भुवनचन्द्रविजय) Publisher: ZZ_Anusandhan (ZZ_अनुसन्धान) Catalog Link: https://jainqq.org/explore/229610/1

Overview and Context:

"Subhat Swadhyaya" is a Gujarati poetic form renowned in Jain literature, often referred to as "Sajjhay" (सज्झाय). The Jain knowledge repositories contain thousands of such compositions. This particular "Sajjhay" is presented here as an unknown author's work, believed to be from the 15th-16th century. It serves as a flavorful example of the "Sajjhay" form from that era.

The text is compared to other prominent "Sajjhay" works, such as the "Bharheser" Prakrit "Sajjhay" and the "Munimala" (mentioned in Anu. 39), which is also a "Sajjhay." "Subhat Swadhyaya" is described as an ancient Gujarati composition in the style of "Munimala," written in the "Chaupai" meter.

Core Theme and Content:

The primary theme of this "Sajjhay" is the glorification of the virtues and achievements of great Jain monks (Mahamunis). The poet employs a unique and powerful metaphor, portraying these Mahamunis as "Valiant Warriors" (Subhat - सुभट).

These spiritual warriors are depicted as having fought and conquered formidable adversaries, including:

• Moh (मोह): Delusion or attachment.
• Karma (कर्म): The karmic forces that bind the soul.
• Parishaha (परीषह): Endurances or hardships faced by ascetics.
• Adverse circumstances and situations (विपरीत संयोगो).

By adopting the imagery of "Subhat" (warriors), the poet is able to elevate the status of the male ascetics. However, this conceptual choice meant that female ascetics (Mahasati-Mahasadhvi) could not be explicitly included in the "Sajjhay" in the same way.

Each stanza (or "kadi") of the "Sajjhay" features the name of a specific Mahapurusha (great soul) and a brief, awe-inspiring portrayal of their valorous deeds.

Key Poetic Devices and Expressions:

A recurring phrase in the "Sajjhay" is "Joi na..." (जोइ न...), which translates to "Look!" or "Behold!". The poet uses this expression frequently to convey a sense of wonder and admiration for the great heroes' prowess and extraordinary achievements.

Examples of Depicted Mahapurushas and their Exploits (from the provided stanzas):

The text describes various revered Jain figures and their spiritual battles:

• First Stanza: The poet declares their intention to describe the "Subhat" of the Jain faith, those who have eradicated the trace of karma and reside in the city of liberation (Shivpuri).
• Second Stanza: Sthulibhadra (स्थूलभद्र) is presented as a warrior of the Jain faith whose battle was truly arduous. He conquered Kama (the god of desire) and enlightened a courtesan (Vesha).
• Third Stanza: Jambukumara (जंबूकुमार), a prince, is described as a great warrior with eight great vows. He took initiation with five hundred disciples, defeated karma, and learned the lesson of valor.
• Fourth Stanza: Nemikumara (नेमिकुंअर) is invoked, and the poet listens to the news of his exploits. He is depicted as radiant and valiant, riding in a chariot.
• Fifth Stanza: Ilaiyputra (इलाईपुत्र) is highlighted for his great struggle, having conquered millions. He destroyed karma by his actions.
• Sixth Stanza: Shalibhadra (शालिभद्र) and another figure (implied) are mentioned. They renounced worldly life, embraced penance and restraint, and fought against karma.
• Seventh Stanza: Nandisena (नंदिसेण) is portrayed as a warrior who lived in the house of a courtesan, enlightening ten people and providing them with sustenance.
• Eighth Stanza: Gayasakamaal (गयसकमाल) is described as a warrior who built a mound of earth, and through his spiritual practice, overcame the web of karma.
• Ninth Stanza: Chilaputra (चिलाइपुत्र) encountered thieves and, by taking his wife's head, learned the Dharma and fought against karma.
• Tenth Stanza: Seth Sudarshan (सेठि सुदरसिण) remained in a state of deep meditation (Kaausarga). He was ultimately embraced by the queen, leading to his ultimate glory.
• Eleventh Stanza: Seth Sudarshan is characterized by his thoughtfulness, adherence to chastity, and right faith (Samyakdarshan) as his weapons. He constantly remembers the Navkar mantra.
• Twelfth Stanza: Bahubali (बाहुबलि) is called a new warrior who reduced karma to ashes. He remained in Kaausarga for a year and attained liberation.
• Thirteenth Stanza: This stanza speaks of overcoming obstacles (like being in water or prison) and achieving ultimate liberation, referring to the attainment of Kevala Jnana in the eighth month.
• Fourteenth Stanza: Vairasingha (वयरसीह) is a significant figure in the Jain tradition. Although young, he conquered his desires, and immediately upon birth, subdued delusion.
• Fifteenth Stanza: Avantikumara (अवंतीसुकुमार), from the city of Avanti, heeded his Guru's words and achieved spiritual progress, reaching a celestial abode.
• Sixteenth Stanza: Dashanabhadra (दशणभद्र) is depicted as a brave warrior who proceeded to pay respects. Another figure, Charpit (चापडी), also moved with anger and struck with a single blow.
• Seventeenth Stanza: Kshamakhand (क्षमाखण्ड) embraced bravery, and through constant effort, he destroyed karma and reached the city of liberation.
• Eighteenth Stanza: Vakrachula (वंकचूल), a warrior, defeated anger with the blow of a sword. He renounced the fruits of his actions and easily crossed the ocean of existence.
• Nineteenth Stanza: Rohini's son (रोहणिउ) from Rajagriha, eradicated karma. He achieved enlightenment in a single stanza.
• Twentieth Stanza: Kalkacharya (कालकसूरि) was influential and fought for the cause of Saraswati. He removed obstacles and brought enthusiasm to the Jain faith.
• Twenty-first Stanza: Other Kahlaka Suris (कालिकसूरि) emerged, removing all distractions and moving towards the divine.
• Twenty-second Stanza: Bhatta Swayambhusuri (भट्ट भ[ सयंभवसूरि) is associated with eight great perfections. He performed rituals that led to spiritual insights and followed the lineage of Swayambhu.
• Twenty-third Stanza: The story of Kayavanna (कयवन्ना) and seven women is mentioned. They renounced worldly riches and embraced asceticism.
• Twenty-fourth Stanza: Khandakshahi (खंदकसीसह) is paid homage for destroying evil. He fought with five hundred disciples and did not falter even at the time of death.
• Twenty-fifth Stanza: The poet bows to the warrior from the Yadava dynasty, Dhandhanakumara (ढंढणकुमार).
• Twenty-sixth Stanza: Gautam Ganadhar (गोयम गणहर), a repository of virtues, enlightened fifteen ascetics and fought on Mount Ashtapad.
• Twenty-seventh Stanza: Chakravarti Bharateshwar (चक्रवर्ति भरत्थेसर) is described as a true warrior whose struggle was arduous. He attained Kevala Jnana through introspection.
• Twenty-eighth Stanza: The poet speaks of the boundless virtues of Shantinath (शांतिजिणेसर), who protected those who sought refuge. The poet feels unable to express these virtues with a single tongue.
• Twenty-ninth Stanza: The "Sajjhay" concludes by stating that countless such "Subhats" exist in the Jain tradition. The poet asserts that anyone who narrates, contemplates, or listens to these stories will surely attain the embrace of liberation.

Conclusion:

"Subhat Swadhyaya" is a significant piece of Jain devotional poetry that utilizes the powerful imagery of spiritual warfare to celebrate the lives and accomplishments of Jain saints. By portraying them as valiant warriors who have conquered internal and external obstacles, the work aims to inspire devotion and a deep appreciation for the path to liberation within the Jain tradition.